Lonerider Gives Classic Rock Fans Something To Listen To In 2022

What happens when you combine the vocal talents of Steve Overland, the guitar skills of Steve Morris, and original Bad Company drummer Simon Kirke? You get a project that is a radio ready feast of blues tinged rock and roll in the style of Kirke's band. Lonerider is a modern day classic rock band. Morris and bassist Chris Childs delilver on the lost art of FM radio instrumentation. Overland channels Paul Rodgers so much that at times you think you are listening to Paul. But Lonerider doesn't just get the sound right, they deliver the songs. Yes this is derivative. And my response is, so what? There is such a shortage in both material and production value these days, that this is like finding an unchartered classic rock island. 

"Fantasyland" which might fool fans into thinking it's "Rock and Roll Fantasy" or "Electricland" (both former FM Radio staples for Bad Company) is a stunning lead off track and would be bound for rock radio chart success if something like that wasn't prevented by the dominant radio-media class. "Cross The Border" flexes some guitar muscle from Morris who understands the tone and chords of a once great 70's rock band. Overland channels the vibe and we have an instant classic. I played this for a friend who then asked me if Bad Company had a new album out. Keep in mind, the mothership of rock and roll hall of fame omission has been telling its fans that a new record is in the works for like 20 years now. This is the 2nd offering from Lonerider. So the wait is over. The fact that Kirke is involved and playing solidly on drums is an obvious admission that this might be as close as you're going to get to a new album by the original Shooting Stars. 

"Undefeatable" spews dust, dirt and grease right out of the speakers as Morris and Overland compete for who can be more in your face. The lyrics are maybe an ode to Mike Tyson or some other punch thrower. Tell the A&R guy that's the single. "Harder Love" betrays it's title with acoustic guitars and would fit nicely as an album track on Rock and Roll Fantasy or Burnin' Sky. The guitar solo is a mystical drive on the pacific coast highway. This is all so familiar and new at the same time. They say imitation is the sincerest form of flattery. This album contains a ton of flattery.

"When You Got Nothing" opens with Overland singing "yeah, yeah, yeah" in a way I thought only Paul Rodgers was capable of. The song then twists, turns and burns it's way into your highway driving playlist. The band nods at the Brian Howe era of the franchise on "Anyway The Wind Blows" which is a song either singer could have handled. It's a beautiful and very memorable power ballad with both acoustic and electric guitar parts. Steve Overland's vocal sounds both sympathetic with the storyline and true to the mission of this album, which is to not reinvent the wheel, but to recreate it. 

"Prayer For The Lonely" is the most bluesy track on the record which will be a treat for British blues rock fans and for those who have really good stereo equipment. "Yesterday's News" is radio ready rock single material. An instant hook with Morris doing the dirty work on guitar and Kirke maximizing his output on the drum kit. But it can't be understated as to how damn close Overland gets to Paul Rodgers during this entire set. 

"Badlands" has the word "Bad" in it so it has to be good. Morris finds a great guitar hook and repeats it as Overland tells a story about a bad-land that he belongs in. Yes a pilfer from Bad Company (the song) but who cares? The music kicks and the lyrics fit right into the old outlaw mentality the mothership band espoused for the better part of their existence. "Wild River" rounds out this collection as a slightly more radio ready rocker that embodies everything this band does well. It rocks. It's got lyrics. It sings. It dances. It fills the speakers with irresistable old time fresh blood grooves. Lonerider is a contender for throwback of the year. And a good throwback is all that is needed to make noise in this often bland and redundant musical landscape. 

Album Rating 9.8

Nazareth - Surviving The Law (Frontiers Music SRL)

Nazareth is a moniker that is still alive. A new singer, Carl Sentance arrived in 2018, and a great band was rebooted. Fast forward a few years, and this current lineup has created a very unlikely album. A modern twist to the bluesy, hard rock of the their 70's heyday has emerged. Nobody will compare this Naz to the old Naz. But when the material is good, it's good and there is no denying that Surviving The Law is a relentless blitzkrieg. 

The opening salvo is a tour-de-force, blow the doors off the car beat down of the narrative we currently live in. "Strange Days" is a world autobiography. It's nice to see rock musicians being countercultural and rebellious. Original bass player Pete Agnew is a beast on this project and gives it more credibility. The band in general is concise and hungry. Guitarist Jimmy Murrison alternates between blues and acid psychodelic lickery. Vocalist and newcomer Carl Sentance is a pure, loud rock singer. The more you listen to this record, the more it will stick in your head. 

"You Gotta Pass It Around" is about love but it could be about any such lovable substance. Sentance is a convincing singer as he straddles the upper altitudes without much effort. Like all good old school records, there are great guitar solos and fills and this album is laden with a great full spectrum mix of ear candy gravitating from speaker to speaker. 

There are some AC/DC-like riffs coupled with the odd turn as if Sweet or Motley Crue were steering the musical progressions. "Waiting For The End of The World" is another gritty, almost garage band work-up. The songwriting is catchy and there is enough air in these songs to make them breathe. You hear big chord progressions and prominent background vocals. The band has written 14 songs that all lean heavily on 70's rock and blues. This is not a generic melodic rock or heavy record. It has it's own personality and will satisfy the hook-lovers and the hard rockers all at the same time. Nazareth will never get the credit they deserve in annals of rock history. But this album will likely go over big with fans of this legendary band and for people who are looking for the real thing.

Album Rating 9.7

City of Lights - Before The Sun Sets (Frontiers Music SRL)

Manos Fatsis is not a household name in the world of music as of yet. But this project should put him on the map in a big way. The Italian singer is a dead ringer for the likes of Coverdale, Dio and Guiffria. His vocal swagger is something to really behold and digest on this new project band assembled by UK songwriter and guitarist Neil Austin. 

These songs are instant melodic rock classics. The production is rich yet clean with crunching riffs, catchy big choruses and powerhouse drumming. The quality of this project can't be understated.

The musical highlights include Racing On The Redline, Hearts On Fire, Dying Light and the scintillating title track. There are twelve tracks and a total of close to 54 minutes of melodic rock gold. There isn't a duffer in the bunch. There are a number of guest lead guitar players who add amazing flair and fluency on every solo. This is my favorite new album of 2022 thus far. Grab it before the sun sets.

Album Rating 9.7

Giant - Shifting Time (Via Frontiers Music SRL)

Giant is a band that has been off and on for over 3 decades. Their debut album Last of The Runaways was a classic 80's melodic rock collection featuring the long lost top 40 power balled, I'll See You In My Dreams. The band's next album Time To Burn ended up being one of last albums of it's kind to be released on any major record label. The shift away from bands like Giant was in full swing, and the album got lost in the shuffle. 

The rebirth of Giant in 2022 was fostered by Frontiers Music and their team of writers, singers and producers. The results here are rather impressive. Vocalist Kent Hilli (Perfect Plan, Restless Spirits, Solo) makes his presence felt. The swirling instrumental title track leads into the guitar power of "Let Our Love Win". Right away this feels like Giant with swagger. Hilli is a really impressive singer even if this isn't your dad's version of the band. Founding members David Huff and Mike Brignardello are present to lend authenticity to the project along with guitarist Dann Huff who shows up for "Never Die Young", which is another rocked up track showcasing Hilli and the powerhouse arrangements that will have real rock fans cheering. 

These end up being really good songs that get better as you repeat them. "Don't Say A Word" continues the streak, followed by "My Breath Away" and the big choruses of "Highway of Love". This is an album filled with radio ready material. And yes, there is a classic Giant power ballad in the instantly moving "It's Not Over". "The Price of Love" is another slow to medium track filled with drama and a great build up. "Standing Tall" is a slightly bluesy slice of swagger showcasing Kent Hilli's vocal chops. "Anna Lee" is another pristine power ballad with a great chorus and meaningful lyrics. "I Don't Wanna Lose You" features great guitar riffage from Starship's John Roth who is the main guitarist on this project.

 "I Walk Alone" is a great mid-tempo power ballad that finishes this collection the way it started. This is sincerely a nice return to form for a band many thought would likely never make music again. Kudos to everyone involved with the new Giant. It should be as big as the band's name. 

RMO Rating 9.6

Shaw Davis & The Black Ties - Red Sun Rebellion (Album Review)

Florida based guitar slinger Shaw Davis and his band the Black Ties return with their third album Red Sun Rebellion.  The band revs up another set of progressive blues-tinged hard rock. The band continues to write and record at a level that is hard to come by in today's computer music world. The recording itself is well produced and will blitz your headphones. 

"Higher" is a grungy rocker that would fit perfectly on mainstream rock radio. Davis straddles the line between modern hard rock and blues and does so with a nod to the 90's. "Promised Land" is another power rocker that would be a nice radio follow up to "Higher". The guitar solos are all little mini acid trips. Davis is a great player who has no problem alternating between dirty hard rock and clean riffs like on "If I Stay This Way". The songwriting is original and top notch. The work of Jimi Hendrix and Robin Trower are certainly touchpoints for Shaw but there is no question that he makes his own way and has created a guitar sound all his own. 

"Black Flagged" could be titled "Black Pilled" as Davis writes about strife and discontent. Lots of tasty fills and solos on this burner. Bassist Patrick Stevenson shines brightly on "Black Flagged". Adding that 90's flair is drummer Bobby Van Stone who crushes the kit from beginning to end. 

The band lightens up for the pop-blues-rocker "Straight Ahead". A tad more soul oriented, the track is radio ready for the right program director. "Rock Me Baby" takes a page from the old Bad Company playbook but with more growl. All nine tracks make for a complete vintage blues meets acid grunge rock experience. If you are looking for some blistering roots music to crank up real loud, you've found your album.

Album Rating 9.8

Sunstorm - Afterlife (Frontiers Music) Album Review

The Sunstorm brand has been around now for about 15 years and has been a bright spot in the melodic rock world. All 5 of the albums prior to the latest project were a vehicle for legendary vocalist Joe Lynn Turner. Turner apparently turned down another opportunity to keep the brand afloat. Rather than ending the project, the record label, Frontiers, recruited singer Ronnie Romero to pilot a revitalized version of the band. The results are suprisingly impressive. Romero has been fronting a number of projects and has been compared favorably to Ronnie James Dio and Graham Bonnet. The new album "Afterlife" was produced by Alessandro Del Vecchio who writes and arranges all of the music as well as playing keyboards and singing background vocals. 

The album's first song which is also the title track for this collection bursts forth with a searing guitar riff supplied by Simone Mularoni who has worked on other Sunstorm projects. He is a beast throughout this project, channeling people like Richie Blackmore and Joe Satriani. The chord shifts, the powerhouse drumming, provided by Michele Sana, and those ferocious bass lines played thunderously by Nik Mazzacconi give Sunstorm a unique and powerful hard rock audio template. "One Step Closer"offers a great singable chorus and a spiritual theme that dovetails with the title of the album. "Swan Song" opens with an airy synth which gives way to a crushing guitar riff, not unlike Sunstorm's signiture song "Edge of Tomorrow". Del Vecchio's lyrics continue to embrace pertinent questions while being generic enough to fit global or personal issues. 

"Born Again" combines elements of blues and hard driving rock while "Stronger" has more in common with AOR and melodic tendencies. Sunstorm was historically more aligned with bands like Journey and Foreigner but in recent years has more in common with the Rainbow and Deep Purple family adding rudiments of progressive rock and classic hard rock. "I Found A Way" makes good use of a bluesy riff and Romero's lower register which is very reminscient of David Coverdale. "Lost Forever" is a stunning power ballad featuring Del Vecchio on keyboards and background vocals. The tune is dripping with old school pomp and gives the album a bit of an intermission from the relentless guitar attack. 

"Far From Over" has one of the catchiest riffs on the album and certainly could be a radio single. A few plays and you're instantly hooked. "Here For You Tonight" is another superb melodic statement with a grand guitar intro followed by Romero singing over a memorable music bed. Mularoni's versatility on lead guitar is a factor throughout this record. "Darkest Night" has a couple of Journey-esque hooks that again make for more great radio fodder. Rather than let up, this album gets better as it goes along. 

"A Story I Can Tell" combines all of the aforementioned elements into one big bold finishing stroke. The band comes in rocking and goes out rocking in the same way. Despite what Gene Simmons says, rock is alive and well, you just have to know where to find it. Sunstorm's "Afterlife" not only keeps the franchise alive, it ends up being the strongest album in the catalog to date. A classic from start to finish.

Album Rating 9.6

Chez Kane - Chez Kane (album review) Frontiers Music

A female rock singer that sounds like Lita Ford, Vixen, Pat Benatar, Fiona, Saraya and Allanah Myles. Introducing British vocalist Chez Kane. I never thought this genre would return to the music world. Kane embodies that leather clad beauty from the 1989 time machine. She sings like a woman determined to bring back this car cruisin' format with the top down and the speakers blaring. The album was written, arranged and produced with the help of Crazy Lixx frontman Danny Rexon. What they've achieved here is nothing less than stunning. All of those frowned upon attributes like melody and fat sounding keyboards are front and center. But it's Kane who delivers the goods on every track.

"Better Than Love" is a brilliant album opener loaded with great hooks and a killer sax part that feels very Eddie Money circa 1988. "All of It" rocks, stomps and hollers it's way through big hooks and choruses. It's as if Mutt Lange and Richie Zito are co-producing but it's Rexon doing his retrofitting on every song. "Rocket On The Radio" sounds like Poison and Journey at times. There are so many great chord changes and singable lines that you'll immediately get wrapped up in the songs. "Get It On" opens with a full chorus of vocals combining a Def Leppard and Vixen strategy. The hooks are immediately lovable. "Too Late For Love" is the song Vixen wish they could have written. A perfect build up and an absolute radio juggernaut if we actually had melodic rock terrestrial radio in the year 2021. 

"Defender of The Heart" is this great mid-tempo semi-ballad that takes this into the pure pop category. This would have topped the top 40 in 1987. The songwriting is all stellar on this project. With so many used up melodies out there, it's a wonder that Rexon and company were able to deliver so many original songs here. "Ball and Chain" is half Bon Jovi and half Vixen. Kane's gutsy vocals defy logic and along with the insane choruses make this pure time travel material. "Midnight Rendezvous" is more of an AOR rock track with Kane pushing the boundaries vocally. The guitars on this one are like a freight train on both the rhythm parts and the solo. "Die In The Name of Love" is a sweet late night top 40 track with superb production especially on the keyboards and vocals. This record is so damn catchy it's almost criminal. 

"Dead End Street" is the last track on this record and it's super close to being a power ballad. The chord progressions and mood of the song put you in a time trance like you've heard this before yet it's brand new material. This is the best album I've heard in 2021. There are no duds or misfires here. For the fan of melodic rock when it was truly melodic.

Album rating 9.9

Kreek - Kreek via Frontiers Music SRL (album review)

Hard rock without all the needless add-ons. A clean rough and tumble sound that still has enough air in it to allow a full interpretation of what you are hearing. A lead singer that has touches of Ian Gillan and David Byron (former Uriah Heep). Bass lines that are high in the mix and give the music a high octane groove. Guitar solos that harken back to the guitar slinger era and add so much depth and texture to the music. Drums that are clean and crisp and drive the band forward. 

Welcome to the first album by the British band Kreek. In addition to all these aforemention traits, Kreek has crafted some amazing, original material. "At The Bottom of Hell" leads off as a nearly 7 minute story perfect for a horror movie soundtrack. If mainstream rock radio took a chance on this it would be an immediate hit. The band is made up of some real talented men. Antony Ellis (formerly of Bigfoot) on lead vocals, Nick Clarke on electric guitar, Lee Andrews on bass guitar and Seb Sweet on drums. "Missiles" and "Meet Your Maker" are both rocking, the latter being a bit of a punky shout and holler anthem. "Million Dollar Man" is a radio ready rocker with great chord changes and a killer chorus. Ellis can sing his ass off and proves it on every track. The joy of hearing every instrument and vocal clearly gives Kreek a big advantage on this album.

"One Voice" and "Man on My Shoulder" both rock out but are stylistically very different. Kreek doesn't employ a monolithic template to any of these songs. There are elements of hard rock and old school metal, but it's rather hard to categorize. "Stand Together" is a bluesy Zeppelinish tale that glides along with both electric and acoustic guitars. Another rock radio ready song. "Down and Dirty" borrows some from Collective Soul but it's airy bass line takes the song in a different direction. "Get Up" is another traditional rocker with each player firing on all cylinders. These guys write new and interesting hooks. "You're On Your Own" is the album's only ballad. And it's the perfect way to end the album with guitars still blazing and drums still pounding. Kreek is a band you shouldn't overlook especially if you are from the old school way of rock but are looking for some fresh sounds.

Album Rating 9.4 

Pride of Lions - Lionheart (Album Review)

With each passing day, this kind of music disappears from radio formats that are beginning to move past the valuable relics from the 1970's and 1980's. There are still some radio formats time traveling 40 or even 50 years, whether it be a Motown song or a one hit wonder that has survived to speak to us now. But it's clear the sounds of 2020 are devoid of the soul and well thought out melodies of days gone by. So when an album like Lionheart comes along, with a genius writer, producer and arranger and one of the top vocalists on the melodic rock scene today, it's an extra special event. 

Jim Peterik should be in the rock and roll hall of fame on his own. He's done so much for rock music starting way back in the 1960's with Ides of March. Jim has remained devoted to the sound he created in the band Survivor. Pride of Lions is an organic extension of that vision Peterik pioneered nearly 40 years ago. Whereas some of the other POL albums were only somewhat derivative of the Survivor template, Lionheart fully embraces it. It's as if Peterik has decided to throw the entire kitchen sink at the music establishment hoping it will wake from it's eternal slumber. 

The album's title track is exactly what you need to crank those engines of nostalgia. Vocally the mix between Peterik and the incredible Toby Hitchcock instantly recalls the late great Jimi Jamison. These are songs Jimi should be singing. And maybe he is looking down with his blessing. "We Play For Free" recalls "Jackie Don't Go" from Survivor's underrated "Caught In The Game" album. Peterik rarely composes a melody that lacks a giant hook. Peterik himself is a rather convincing singer and when you combine his talents with those of Hitchcock, these songs just soar. "Heart of The Warrior" completely mirrors 80's Survivor with a good dose of John Parr. The keyboards score points for being so omnipresent and complimentary. Guitarist Mike Aquino channels the early days of great guitar solos on this amazing track. 

"Carry Me Back" arrives like a top 10 single from 1983. The subject matter is total nostalgia with lyrics and musical refrains that feel like you know the track, even though it's brand new. Hitchcock commands the mic with Jim Peterik augmenting his brilliance. "Sleeping With A Memory" will insantly recall Foreigner's "Waiting For A Girl Like You", awash in ascending keyboard notes but then evolving into a mid-tempo track. Again the duet of Hitchcock and Peterik is incredibly effective. "Good Thing Gone" is an uptempo big hook laden melody with haunting lead and backing vocals from Hitchcock with some verses sung by Peterik. This is muscle car music, where both rhythm guitars and keyboards are hammering the melody home. 

"Unfinished Heart" is a spectacular power ballad that mixes Foreigner, Journey and Dennis DeYoung's Styx into something that old time radio would be playing every few hours. "Flagship" begins with a big chorus followed by a cascade of keyboards and guitars. A perfect music bed for the dualing vocals of Hitchcock and Peterik. Again, the power of a great melody and empowering lyrical themes make this continued listening bliss. "Give It Away" is more of a pop-rocker, using some choppy guitar riffs and a compact melody. The bridge on this track is really a work of art. "Rock and Roll Boomtown" is a tale of Hollywood's former music glory. The old west goes bust. The melody is extraordinary, a tad darker with some sparse moments that recall Aerosmith's "Amazing". The timely lyrics will certainly resonate with this album's key demographic. 

"You're Not A Prisoner" is another potential big hit single with a driving rhythm guitar and might be suited for .38 Special fans. A total AOR late night rock radio feel. Love, love this track. "Now" begins as a sparse acoustic track that kicks into gear. It sounds a bit like "Come Again" by the Damn Yankees. But it's got it's own Pride of Lions legs. Aquino unleashes an amazing guitar solo to extend the track out just when you think it's over. I got some goosebumps.

This album is easy to summarize. Big vocals, great guitars, unique soaring melodies, excellent production and fine musicianship. This record will compete to be the best melodic rock record of 2020. An amazing achievement, even from a guy you kind of expect it from. Lionheart comes from the musical heart of a champion - Jim Peterik.

Album Rating 9.9

Helix - Eat Sleep Rock (Album Review)

Eat Sleep Rock is a collection of unreleased songs from the vintage Canadian rock band Helix. A band that influenced a herd of other offspring including Poison, Motley Crue, Def Leppard and Twisted Sister. Born in the 70's, Helix has been at this for about 45 years. Lead vocalist Brian Vollmer is the only original member but the band itself has been largely in tact, on again and off again since the their 1980's hey day. Like every band from that era with a glam rock sound, Helix was destroyed by the 1990's but their fan base persists. This new group of songs is sure to delight fans of their no-nonsense, bluesy, glam rock attack. 

The band even provides a 7 minute history lesson of itself called "The Story of Helix". It's a funny rap spoken over a punkish rhythm guitar, complete with sound effects and nods to their glam rock roots. The album's title track might have been a monster 80's rock radio track. It's your basic rock and roll party anthem. The throwback nature to the record is not just in it's production, but it also permeates the lyrics. Rock is supposed to be about fun and letting loose. There are several other tracks that are radio ready. 

"Wrecking Ball" is a down and dirty shout and holler anthem with a wrecking ball size chorus and hook. There are some dark themes involving psychos, the devil and Frankenstein. These guys came of rock and roll age when Alice Cooper was budding as a crazy storyteller. There is definitely some of that influence here. The lyrics are supported with catchy, well produced melodies. "Even Jesus (Wasn't Loved In His Hometown) juxtaposes the devil and Frankenstein. It sounds like the band is a little miffed at the lack of hometown success. In all honesty this band should have been bigger in all of North America. Needless to say the song has an epic guitar solo and is definitely radio worthy. 

The band proceeds to sing about Bitters and Tequila in two songs that would work at certain adult night spots. In "Gene Simmons Says Rock Is Dead" Brian Vollmer says rock and roll didn't die of old age, it was murdered. A sentiment I concur with. The words of the song echo true and the band even designs a Kiss-like riff to deliver their sermon. 

Helix still wants to party. And let everyone know that there is still a band that does rock the old fashioned way. Overall this is a fun collection of glam-infused rock songs that sound familiar. Many of them were previously released but were hard to find. Helix is keeping rock alive, but they need reinforcements.

(Album Rating 9.3)

Fire Tiger - All The Time (Album Review)

It's safe to say that Fire Tiger is the only band in the world right now making new music that sounds like 80's pop and rock. Sure there are a lot of melodic rock bands in the world. But few of them capture the style and essence of a decade that most everyone is nostalgic for. And while some might say music like this has no place in an industry dominated by music that is designed by computers, I say it's exactly what the world needs right now.

The band's third album, All The Time is another near flawless collection of songs that put the fun, energy and excitement back into a lifeless industry. Lead vocalist Tiffany Alkouri is a genetic throwback to the look, sound and strut of various female singers from the decade of decadence. Most notably Taylor Dayne, Samantha Fox and Kathy Troccoli. The album's lead track "Don't Take Me Home" is a rock radio friendly tune with a tinge of darkness and desperation. "So Many Fishes" is the perfect pop-rock song that would have topped the charts in 1988. There's even a great saxophone solo! It's an instant hit and would work wonders to liven up any boring adult contemporary playlist on the radio today. 

"Magic Brew" is a follow up single to "Fishes" featuring an addictive chorus the bops along like a Cyndi Lauper song with more melodic mojo. The band down shifts to "Undeniable", a moody, haunting ballad with acoustic guitars, big keyboard textures and Tiff's sultry vocals. Stylistically these guys pull off the unthinkable - they cover all of the rock and pop styles that were in vogue more than three decades ago. "Getaway Song" crosses back into a more rock landscape with guitarist Tyler Renga leading the way. But like every Fire Tiger song, it goes back to the melody lines and the songwriting. These songs are so well thought out. 

"Silly Thing To Do" feels like a Brit-pop new wave song that would have been made into a remixed 12" vinyl dance single. Think General Public or Style Council. "All The Time" (the album's title track) straddles the pop and rock fence with a massive chorus mixed into an 80's smoothie of guitars, keys and powerhouse lead vocals by Tiff. "Solo Poquito" is a latin influenced dance-pop song that emulates Miami Sound Machine or any number of offshoot artists. Bagpipes are the lead instrument on "Flying Solo" which recalls Big Country but with less pomp and more circumstance. The song still chugs along with a Scandal-like urgency. The pipes work extraodinarily well and give the song extra lift.

"Way To My Heart" combines two band types into one amazing song. First, Ace of Base and secondly, Nena on the guitar riff that follows the intro. To say this song is kinda catchy would be the understatement of the decade. "Side of You" is a slower, sparse arrangement that showcases Tiff's incredible range and power. The lyrics make this a gorgeous love song that truly is time travel. "Spider at Midnight" finishes up the album as another mid-tempo track with a ton of keyboard effects. The melody captures an 80's college radio vibe.

Twelve tracks, no filler, no wasted moments. My only complaint is that these songs are too short. But that complaint is based on the fact that I could listen to each song for a longer period of time and that the music is so good that you don't want it to end. Fire Tiger's best work to date. They have CDs, Vinyl and even cassettes for sale. This is the music you remember brought into a decade thrice removed. If you listened to top 40 radio in the 1980's, you have to hear this band!

Album Rating 9.9

Lionville - Magic Is Alive (Album Review)

Lionville is a band the entire world should know. They should be on your local terrestrial radio station. They are a next-generation band for fans of Toto, Journey and Foreigner. They write amazing, catchy, hook-laden songs. Their vocalist, Lars Safsund, also a member of the Swedish band Work of Art, is one of the finest vocalists on the melodic scene today. The band's new album "Magic Is Alive", is a sonic marvel from start to finish. The soaring lead single "Nothing Without You" is one of the strongest radio ready songs you'll hear this year. Lars and guitarist, composer and band founder Stefano Lionetti, have developed a Mick Jones, Lou Gramm partnership. 

"You're Not Alone" is an airy, melodic harmony rich walk on the Toto side of things. "Runaway" nods to Lars' band Work of Art. And yet these similarities don't obscure the listening experience. For those who want a more consistent version of Work of Art, Lionville may be the perfect ticket. Keyboardist Fabrizio Caria does a nice Jonathan Cain impersonation on the lead in to "Finally You're With Me". American 80's music fans will have a lot to celebrate listening to Lionville in the year 2020. "Every Little Thing (Leads Back To You)" is a driving rocker with Lars delivering a powerful vocal with the rest of the band nailing down the groove. West Coast fans will absolutely love "If You Don't Know Me" with its lighter, slightly smoother arrangement. "Living With The Truth" speaks in the Toto dialect again with a dash of Journey and Khymera. All of these songs contain a high dosage of memorable melodic mojo. Lionetti's guitar playing is understated and most effective on the solos. 

"Reaching For The Sky" opens with a funky west coast riff and plenty of room for Lars' vocal expressions. Caria's keyboards employ a nice horn-sounding effect with bass player Giulio Dagnino holding down the bottom end with his partner in sound, drummer Martino Malicrida. This track has some great soloing on keys, guitar and saxophone. I could have listened to this jam for another 10 minutes. "I'll Never Give My Heart Away" blends the west coast motif with a bit of drama and late night rocking. The hook is enormous and the chorus is also a big payoff for the listener. "Into The Night" echoes a Richard Marx template, slow and contemplative with keys and big slow phrasing featuring both acoustic and electric guitars underneath. "Magic Is Alive" ends the set with an infectious dance-rock groove that would be 12" single ready if this were a different time, like 1987. 

The hooks are all monster. The arrangements are largely free of clutter and overproduction. The tunes are all well written and sung. This is certainly one of the best albums of 2020 thus far. The Magic is in the music. Lionville's best work to date.

Album Rating 9.7

Pinnacle Point - Symphony of Mind (Album Review) Via Escape Music

Nobody could have predicted how well the first Pinnacle Point album, Winds of Change, would be received. That first recording struck a chord with classic rock listeners, especially fans of old school Kansas band music. Three years later, the growth of this band is a leap of Neil Armstrong proportions. Jerome Mazza returns to the microphone along with guitarists Torben Enevoldsen and Tommy Denander. Also on guitar and vocals is Rich Ayala. He's joined on bass guitar by Takeaki Itoh and on drums by Mark Prator. 

The first single, Weight of The World, roars out of the gate like a Deep Purple Highway Star. This might be the perfect song for a movie with a high speed car chase. Mazza's vocal tendencies line up impeccably with his hero Steve Walsh. The lines of imitation and flattery are blurred so much that it seems Walsh just handed him the baton. Like the first Pinnacle Point album, an instrumental track opens the set. It's called Ascent To The Point, and it embodies those orchestrations and chord changes that adorn all of the early Kansas records. The violin work on this album is on par with some of the best stuff ever recorded in the rock genre. Valeria Pozaritskaya is an amazing talent on violin and her work helps drive the sound of the entire project. 

"So Alive" is a brilliant track featuring a variety of keyboard sounds as well as an incredible spacey progged out synth solo that will grab you by the ears. The elegant big majesty of this track will draw comparisons to the orchestral long form album tracks Kansas used to be famous for. And as much as this is prog-rock, it also embodies classical and pop forms as well. "Hero" also combines the classical and progressive with scintillating acoustic guitar work. Mazza's voice and Valeria's violin intertwine into a lush tapestry. "Never Surrender" begins with a searing guitar riff that drops to a low rumble but then bursts open with big progressive power chords. Mazza's voice travels up to the ionosphere. Jerome apparently does this stuff with ease. He's truly a gifted, classically trained vocalist. 

"In The Wake of Hope" brims with the old Kansas musical template, but on steroids. Again the violin is vibrant and is clearly the lead instrument. The lyrical themes on Symphony are mostly inspirational and positive. In our current world with it's large problems, this music will be a welcome escape for many. Of note in this song is the instrumental break featuring classical piano, violin and acoustic guitar. This is headphone paradise. "Shadows of Peace" continues the perfect streak of rich, full bodied lyrical and musical concepts. The tempo changes and angelic vocal harmonies are truly mind blowing. Many of these songs clock in between 5 and 6 minutes and there are no wasted moments. In most cases, you'd want them to go on longer. 

"Beyond" begins with a full pallete of sound colors including piano, synth and violin. Acoustic guitars fall in and eventually lead to more dreamy imagery and vocals from Mazza. This might be his most Steve Walsh-like performance especially on the high notes. The synths return for an epic solo. The tempo changes are stunning. "Nothing At All" opens with a Timpani drum roll followed by a beautiful open soundscape highlighting both classical piano and acoustic guitars. Mazza soars yet again. His range is strong and limitless and effortless. "Prodigal" is a grittier rocker featuring keyboard sounds that play off the drums and guitar blasts. And yes, more stunning violin. For those familiar with the album by Kansas called Monolith, this sounds like a lost track. 

The album's title song (and final one) is truly it's Magnum Opus. A sprawling seven minute tribute to Kansas legend Kerry Livgren. It's more than homage to Kerry, it's an acknowledgement of his brilliance and how he was so far advanced in his thinking. There couldn't be a better tribute and I've heard few songs in recent memory that bring this much passion and integrity to a topic. Mazza and his crew sincerely love the early Kansas records. In their zeal, they have crafted their own classic album that will someday be looked back on as an authentic continuation of what Livgren and Walsh started. No better compliment could be paid to a record in the year 2020. This is some indescribably brilliant music that sits on it's own plain far above the din of the noise below. This is the best melodic rock record I've heard this year.

Album Rating 10.0